A twelve-inch canvas Lisa Yuskavage included in her exhibition at David Zwirner upstages the entire show and much of the work the artist has exhibited to date.
Contributed by Dana Tyrrell / From 1965 to 1967, Elizabeth Murray – a towering presence in contemporary painting who died in 2007 – lived and worked in Buffalo, New York. Having moved from San Francisco to teach at Rosary Hill College (now Daemen College), she used her time in Buffalo to build up to living and working in New York City. “Elizabeth Murray: Back In Town,” Anderson Gallery at the University at Buffalo, demonstrated that this interlude was formative to the canonically understood Elizabeth Murray.
Contributed by Sangram Majumdar / On the occasion of her first exhibition, beautifully installed at Thomas Erben Gallery, Janice Nowinski and I talked about how time presents itself in every aspect of her paintings – from references to art and personal histories, to the very material qualities of the work.
Contributed by Sharon Butler / When I saw Douglas Melini’s new work at Miles McEnery (on view until October 16), I was surprised how much it had changed since I saw his pattern paintings In “YOU HAVE TO PEER INTO THE SKY TO SEE THE STARS,” a 2016 solo show at 11R. I reached out via email to ask him about the bold transition.
Welcome to the Two Coats of Paint painting-centric guide to gallery exhibitions in New York City.
Line: Chance drips, hesitant brushstrokes, calligraphic gestures, notional timelines, yarn, and builder’s caulk
Contributed by Sharon Butler / “Walk the Line” at Platform Project Space in DUMBO presents a variety of line, from chance drips, hesitant brushstrokes, spontaneous calligraphic gestures, and notional timelines to more calculated applications of knotted yarn and extruded builder’s caulk.
Contributed by Jonathan Stevenson / Painting is persistently and emphatically alive and well. Indeed, the notion that it is dead – or, more kindly, moribund – is so vapid and hidebound that merely saying that the notion is a cliché is itself a cliché. Yet in putting the lie to it one more time, the Bushwick gallery Transmitter’s succinctly penetrating group show “Material Mutations, part one: The Canvas” brings fresh insights in what might otherwise be an eye-rollingly redundant conversation.
Contributed by Jonathan Goodman / In “Mettle,” Stacy Lynn Waddell’s expansive show at Candice Madey, the artist embraces different cultures throughout the world: Malian life in the 1960s; nineteenth-century American painting reflecting burgeoning capitalism; and seventeenth-century Dutch flower painting.
Contributed by Sharon Butler / When Nathaniel Robinson takes the train from Brewster, New York, down to the city, he snaps pictures along the way. Hastily cropped and blurry in some areas, these images have become the basis for a series of sublime paintings on view at Devening Projects in Chicago.
Contributed by Sharon Butler/ At Chart, Karin Davie, in her first NYC show since 2007, has moved with elegant decisiveness from pop-inflected stripes, slapdash and dripping, to wide, sine-wave brushstrokes that gently oscillate in glowing geometric formations.